I'm a student of media and I've always been one. I'm fascinated by the way we make the world around us based on pictures and how can we improve our perception of this picture world.

In the back of every painting there's an entire universe that makes it possible for the painting to be there: an army of conservators, technicians, people who maintain these things, the market.

I think art is the development of this interface between mind and matter, between mind and phenomenon, between what's inside of us and what's happening outside of us. It developed over the course of the last 35,000 years. We made a lot of improvements because it not only gave us the tools to understand the world better, but it also gave us better and better tools to do it. It's that continuous relationship: technology and discernment.

I think there's a gradient that goes from science to art and magic is the middle ground. I think that we're all trying to understand and define the world around us but often it's experimental.

When you organize your work and look back at your entire production, it may feel like you're looking at a straight line, but in fact it's nothing like that. The work is very experimental and most of the time it develops like branches. I usually see a capillary, like a tree shape where there are... branches that sort of move because you're not tending to them.

The moment when one thing turns into another is the most beautiful moment. A combination of sounds turns into music. And that applies to everything.

I think that the development of any culture has something to do with the way people deal with the concept of illusion. The fact that the sound of my voice and the way I modulate it creates pictures in your head... in order for us to accumulate knowledge, we have to create symbolic exchanges that let ourselves be fooled temporarily by something that's not there - by a substitute for reality. When you talk about representation, you're talking about language.